Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Bosnia Herzegovina and from Winnipeg.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1966 to 1975.
I'm losing my edge.
To all the kids in Portland and Shanghai.
I'm losing my edge to the art-school Manila kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the linndrum sounds with much patience.
I was there when Tom Verlaine started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Skriet to the funk kids.
I played it at the Astoria.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Slick Rick. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Nas record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash and the Furious Five,
Gian Franco Pienzio,
Radiopuhelimet,
The Wake,
Eden Ahbez,
Kool Moe Dee,
Alice Coltrane,
Red Lorry Yellow Lorry,
The Mojo Men,
EPMD,
Barclay James Harvest,
Slick Rick,
Notorious BIG live in Amsterdam,
Magma,
Vladislav Delay,
The Monochrome Set,
Soul Sonic Force,
Electric Light Orchestra,
Peter and Kerry,
Henry Cow,
Sarah Menescal,
Darondo,
The Moleskins,
Marine Girls,
Deutsch Amerikanische Freundschaft,
Dorothy Ashby,
The Tremeloes,
Ralphi Rosario,
Organ,
John Coltrane,
JFA,
The Beau Brummels,
Wings,
Warsaw,
The Buckinghams,
Soulsonic Force,
Barbara Tucker,
Wolf Eyes,
The Walker Brothers,
Bootsy's Rubber Band,
Tears for Fears,
Gil Scott-Heron & Brian Jackson,
The Detroit Cobras,
Minor Threat,
The Dave Clark Five,
Tommy Roe,
Moby Grape,
Pierre Henry,
Kerrie Biddell,
Soul II Soul,
Bizarre Inc.,
Patti Smith,
Dennis Brown,
X-102,
China Crisis,
London Community Gospel Choir,
Scientists,
Interpol,
The Knickerbockers,
Bad Manners,
Art Ensemble Of Chicago,
Pantaleimon,
Chris Corsano,
A Flock of Seagulls,
The Sonics, The Sonics, The Sonics, The Sonics.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.